Tuesday, March 11, 2014

One of the
reasons I particularly love documenting the creative process on film sets is
because there are always a bunch of people, each with a specific role, roaming
around doing the best work possible to make a creative project come to life.Film sets are the places where you get to see the unexpected, the original, the strange, the inimitable, the odd and everything
else in between all at the same time (a bit like Life, come to think of it!).

Last
November, I got to photograph the beautiful and the musical on the film set of
the Can't You Relax videoclip. The entire crew made up of one singer (Ruth Damas), 2
co-directors, a DP (director of photography), 2 lighting/technical assistants, 2 makeup
artists, 1 hairdresser, 1 film set photographer and 4 dancers, came in at 8 am
on a Saturday morning and left 10 hours later after a very long day of filming.

Before the
day of the shoot, months of preparation went into pre-production which usually involve
finding the location, the equipment, the crew members, planning the budget, the shots,
etc.And once the filming is done, everything
goes into post-production where long hours are being spent editing the film,
mixing the sound, adding special effects, etc. And then when all is done you have 4
minute video ready to be show to the world!

Are you exhausted
yet by the thought of how much work went into a 4 minute video?Now can you imagine the work that goes into
making a full feature film?

Wednesday, March 5, 2014

Ever since
I started doing henna, the way I look at patterns and design that surround me
has changed. Suddenly, the peculiar curve of a wrought iron gate or the density
of a design on a t-shirt would catch my attention like never before. And while I
would observe them intently, I would
always think to myself how I could translate that into henna,particularly when it came to the intricacy of
lace.

Over the
years I've accumulated images of various lace design — from lingerie to haute
couture fashion —to inspire me.I had done a large henna lace design several
years back, but I wanted to create something much more delicate and densely
detailed. I didn't want to draw lacy gloves, because there is so much of that
already within traditional henna.

I
needed to create something really unique. Then one
day, I happen to stumble upon a coupon flyer that was having a sale on tissue
boxes.The image of the box on the flyer
had an interesting lacy pattern printed on it which made me do a double take. As I examined the pattern closer, I started to
imagine how I could transform that motif into a henna design and I suddenly
figured out what my next henna project was going to be.Henna lace socks!All I had to do now, was figure out who was
going to wear them!

The Muse

Sometimes,
you meet certain people and you just know you are going to have the opportunity to work with them on
something special.I've had that
experience several times already and when I met Miss Barbara at a corner street
not far from my house, I had that same impression. I had heard her name through the flamenco community, but I never got to put a face to the name until our delightful encounter. She mentioned that she was a fan of my henna
work and that she would love to pose for me one day.With her long hair, black as rich soil, her crystalline blue eyes, a
presence and a sassyness à-la-Mae-West-with-a-Mexican-twist that could charm
the pants out of anybody, I knew she would be a great model for my next henna project.

The Lace

So back to
my tissue box image I went and started sketching. My sketching phase is also
the part where I start digging deeper about the kind of design
I want to create: what kind of lacy motif do I want? How high do I want
the socks to be? Do I cover the bottom of the foot, if so, do I cover the soles
completely or do I extend the lace of the pattern? What about the border at the
top of the sock; do I want it thick, thin, bold, light?How much floral pattern do I want? Bigger? Smaller? How much negative space do I use? etc.

Once I had
a pretty good idea of what kind of elements I wanted to integrate within my
henna design, I had to make sure I would be able to execute them with ease when the time came
for the henna session. As you can see from the example, the background of the design
is not checkered, it is more like a stretched honeycomb pattern.I spent quite a bit of time figuring out and
practicing this type of laciness, first with pencil then with henna. The
difficulty was in keeping a steady rhythm as I was drawing the wavy zigzag
lines one by one.

If at first you don't succeed...

Before the
photo shoot, I had decided that I wanted to explore the design within two
different settings: one in flamenco and the other in a modernized 50s pin-up. I
was hoping to find a pair of blue patent leather platform pumps, but for some strange
reason, most of the shoe stores I went to don't seem to carry that particular color and style when it's the middle of January and that it happens to be -19 °C outside. Go figure!

So with resignation, I opted to purchase a pair of black platform shoes instead (probably some leftover Christmas party inventory!). When I noticed they were covered in black lace, I became a little more enthusiastic and realized for want of having blue shoes, I could set up a blue background instead and the contrast I was aiming for would still work

It was
finally time for the photo shoot and everything was ready.I wanted to start shooting the flamenco
version first. Everything was in place, the flamenco shoes, the shawl, the rose
petals... But as I was taking the pictures, I could feel that something was
off.It didn't fit. The henna didn't “shine” within this setting.Things just
didn't blend in. So I made a quick switch for the pin-up set-up and
suddenly everything came together.

Sometime you
have a clear idea, you think it's going to look great, but when everything is
set,you're clicking away and you can feel
that it's just not working. That's when you
have to be flexible enough let go, stay open, and remember that something
else will come up.

About The Artist...

is a professional henna-artist. Since 2002, she's been running Lumanessence Henna Body Art from her private studio in Montreal, adorning women and men from all walks of life, with beautiful temporary henna tattoos.
She is also a photographer who works mainly with artists and creators, documenting their creative process.